This volume explores issues of black female identity through the various "imaginings" of the black female body in print and visual culture. Contributions emphasize the ways in which the black female body is framed and how black women (and their allies) have sought to write themselves back into social discourses on their terms.

In 1973, the year the women's movement won an important symbolic victory with Roe v. Wade, reports surfaced that twelve-year-old Minnie Lee Relf and her fourteen-year-old sister Mary Alice, the daughters of black Alabama farm hands, had been sterilized without their or their parents' knowledge or consent. Just as women's ability to control reproduction moved to the forefront of the feminist movement, the Relf sisters' plight stood as a reminder of the ways in which the movement's accomplishments had diverged sharply along racial lines. Thousands of forced sterilizations were performed on black women during this period, convincing activists in the Black Power, civil rights, and women's movements that they needed to address, pointedly, the racial injustices surrounding equal access to reproductive labor and intimate life in America. As horrific as the Relf tragedy was, it fit easily within a set of critical events within black women's sexual and reproductive history in America, which black feminists argue began with coerced reproduction and enforced child neglect in the period of enslavement. While reproductive rights activists and organizations, historians, and legal scholars have all begun to grapple with this history and its meaning, political theorists have yet to do so. Intimate Justice charts the long and still incomplete path to black female intimate freedom and equality--a path marked by infanticides, sexual terrorism, race riots, coerced sterilizations, and racially biased child removal policies. In order to challenge prevailing understandings of freedom and equality, Shatema Threadcraft considers the troubled status of black female intimate life during four moments: antebellum slavery, Reconstruction, the nadir, and the civil rights and women's movement eras. Taking up important and often overlooked aspects of the necessary conditions for justice, Threadcraft's book is a compelling challenge to the meaning of equality in American race and gender relations.

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation—all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an ”acceptable” version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire.

Showcases an array of both familiar and unknown photographic works of black women, citing the cultural and sociological histories of the past 300 years reflected in them, from images of South African studies to the Harlem Renaissance and the civil rights movement.

In The Black Body in Ecstasy, Jennifer C. Nash rewrites black feminism's theory of representation. Her analysis moves beyond black feminism's preoccupation with injury and recovery to consider how racial fictions can create a space of agency and even pleasure for black female subjects. Nash's innovative readings of hardcore pornographic films from the 1970s and 1980s develop a new method of analyzing racialized pornography that focuses on black women's pleasures in blackness: delights in toying with and subverting blackness, moments of racialized excitement, deliberate enactments of hyperbolic blackness, and humorous performances of blackness that poke fun at the fantastical project of race. Drawing on feminist and queer theory, critical race theory, and media studies, Nash creates a new black feminist interpretative practice, one attentive to the messy contradictions—between delight and discomfort, between desire and degradation—at the heart of black pleasures.

The first wound for all of us who are classified as “black” is empire. In Black and Female, Tsitsi Dangarembga examines the legacy of imperialism on her own life and on every aspect of black embodied African life. This paradigm-shifting essay collection weaves the personal and political in an illuminating exploration of race and gender. Dangarembga recounts a painful separation from her parents as a toddler, connecting this experience to the ruptures caused in Africa by human trafficking and enslavement. She argues that, after independence, the ruling party in Zimbabwe only performed inclusion for women while silencing the work of self-actualized feminists. She describes her struggles to realize her ambitions in theater, film, and literature, laying out the long path to the publication of her novels. At once philosophical, intimate, and urgent, Black and Female is a powerful testimony of the pervasive and long-lasting effects of racism and patriarchy that provides an ultimately hopeful vision for change. Black feminists are “the status quo’s worst nightmare.” Dangarembga writes, “our conviction is deep, bolstered by a vivid imagination that reminds us that other realities are possible beyond the one that obtains.”

2000CHOICEOutstanding Academic Title Using writers such as Harriet Wilson, Frances E. W. Harper, Pauline Hopkins, Toni Morrison, Sherley Anne Williams, and Gayl Jones, the author highlights recurring themes and the various responses of black women writers to the issues of race and gender. Time and again these writers link slavery with motherhood—their depictions of black womanhood are tied to the effects of slavery and represented through the black mother. Patton shows that both the image others have of black women as well as black women's own self image is framed and influenced by the history of slavery. This history would have us believe that female slaves were mere breeders and not mothers. However, Patton uses the mother figure as a tool to create an intriguing interdisciplinary literary analysis.

Examines how Black girls and women negotiate and resist dominant stereotypes in the context of an Afrocentric youth organization for at-risk girls in the Bay Area.

In a divided continent, women of colour come together to make a Black Europe visible.

Williams, the author of Hard Core, explores how these images took root, beginning with melodramatic theater, where suffering characters acquire virtue through victimization."--BOOK JACKET.